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<ul><li>Amar Kaushik’s Bala starring Ayushman Khurrana has earned ₹24.50 crore in the first two days of its release. </li><li>However, the collections of day two were slightly lower than estimated owing to the Ayodhya verdict which shut down several cities in Uttar Pradesh, Rajasthan and Madhya Pradesh. </li><li>Bala is expected to make over ₹40 crore on weekends. </li><li>Abhishek Pathak's Ujda Chaman minted ₹2.23 crore on the day of its release. </li></ul>Amar Kaushik’s Bala starring Ayushman Khurrana has earned ₹24.50 crore in the first two days of its release. It is expected to make over ₹40 crore in the opening weekend despite people staying indoors in many parts of the country <a href="https://www.businessinsider.in/slideshows/see-how-india-tried-to-keep-calm-ahead-of-the-historic-supreme-court-verdict-in-the-ayodhya-case/slidelist/71979316.cms">due to the sensitive Supreme Court verdict </a>in the Ayodhya dispute. <div type="twitter" handle="taran_adarsh" handlename="taran adarsh" image="http://pbs.twimg.com/profile_images/1440352704/profile_pic_taran_normal.jpg" favoritecount="8766" retweetcount="508" status="#Bala hits the ball out of the park on Day 2... Superb growth... Day 3 should help *weekend total* cross ₹ 40 cr ma… https://t.co/v9HOQwgnIh" createdat="1573364292000" id="1193402455519707136"></div>

 The film received <a href="https://timesofindia.indiatimes.com/entertainment/hindi/movie-reviews/bala/movie-review/71958951.cms">rave reviews</a> and<a href="https://boxofficeindia.com/report-details.php?articleid=5604"> collected ₹10.15 crore on day one</a>. However, the collections of day two were slightly lower than estimated owing to the Ayodhya verdict which shut down several cities in Uttar Pradesh, Rajasthan and Madhya Pradesh, <a href="https://boxofficeindia.com/report-details.php?articleid=5604">according to Box office India. </a> With no big releases in Indian theatres this week, film analysts are expecting Bala to perform well on weekdays too. The satirical drama starring Ayushmann Khurrana, Yami Gautam and Bhumi Pednekar is a story of Bala, a young man suffering from premature baldness. Controversy helps Bala Ayushmann's first look from "Bala" that was released in August caused anticipation among the audience. A month later, trailer of Abhishek Pathak's "Ujda Chaman" came out and it seemed to have the same story line, triggering charges of plagiarism. Comparisons <a href="https://www.businessinsider.in/entertainment/news/bollywood-is-going-bald-this-year-with-at-least-three-movies-on-the-same-topic/articleshow/71612443.cms">between "Bala" and "Ujda Chaman" </a>could not be avoided. However, Ujda Chaman starring Sunny Singh turned out to be a mediocre film. It <a href="https://timesofindia.indiatimes.com/entertainment/hindi/movie-reviews/bala/movie-review/71958951.cms">minted ₹2.23 </a>crore on the day of its release. Apart from the same plot, the look of two actors and dialogues are too similar to miss. Strangely both the films hit the theatres within a gap of 6 days. Ujda Chaman was released on 1 November. See also: <a href="https://www.businessinsider.in/entertainment/news/bollywood-is-going-bald-this-year-with-at-least-three-movies-on-the-same-topic/articleshow/71612443.cms">Bollywood is going bald this year with at least three movies on the same topic </a> <a href="https://www.businessinsider.in/entertainment/news/akshay-kumars-housefull-4-movie-box-office-collection/articleshow/71800413.cms">Akshay Kumar’s Housefull 4 beats bad reviews to make ₹80 crore in 4 days</a>

Ayushmann Khurrana’s Bala nears ₹40 crore in three days⁠ despite shutdowns for Ayodhya verdict — over thrice the collections of ‘Ujda Chaman’ in the opening weekend

"Bala" was initially a critique on the industrial exploitation of the Ganga river with the protagonist sporting the iconic hairstyle of superstar Salman Khan from "Tere Naam" before he goes bald, reveals writer Niren Bhatt. But he was in "two minds" about the plot idea and it was after he met director Amar Kaushik, that made the Ayushmann Khurrana-starrer what it is today: about a person coming to terms with his looks. With <keyword id="6354535" type="PERSON" weightage="20" keywordseo="ayushmann-khurrana">Ayushmann Khurrana</keyword> as a young man struggling with receding hairline, <keyword id="6356250" type="PERSON" weightage="20" keywordseo="yami-gautam">Yami Gautam</keyword> as a small-town TikTok star and <keyword id="2069863" type="PERSON" weightage="20" keywordseo="Bhumi-Pednekar">Bhumi Pednekar</keyword> as a girl fighting prejudices against dark skin, "Bala" opened to rave reviews and fantastic box office numbers last week. Niren, whose credits include National Award-winning Marathi feature "Ventilator" and Rajkummar Rao's "Made in China", said he is overwhelmed with the response to "Bala". "This is such a good high. My phone hasn't stopped ringing, people are writing to me. This is a wonderful feeling," he said. The film's journey began when Dinesh Vijan's Maddock Films was developing Pavel Bhattacharjee's original idea about a man in Banaras, who finds out that a company dumping waste in Ganga was responsible for his balding and decides to start a campaign against it. "I wasn't too kicked about it (original idea) and was still in two minds. Then Amar came on board as a creative producer. When we sat together, he started telling me his experiences as he started losing hair in his early 20s." Conversations between the two centered around the latter opening up about the "everyday disappointments" a man with receding hairline goes through, ranging from waking up and checking the pillow for fallen hair or watch strands of hair go down the drain during shower. "It became about the complex you feel when you step out, this lack of confidence which seeps in because of balding. I knew this is the story. It's a common problem. It's not a city-specific problem, it's a global thing." Niren, who has written the film's story, screenplay and dialogues, said the process started last October and went on till May this year, with round-the-clock revisions during the shoot. The idea further evolved into a film about self-love, than just a story about a bald man. "We thought, the film shouldn't only be about balding. Beneath this, it's about self image and loving oneself. From there we thought we will have two love stories, somewhere you'll feel he might go with Yami or Bhumi but finally the love story is with himself." "Bala" is also loaded with <keyword id="143" type="CITY" weightage="20" keywordseo="Bollywood">Bollywood</keyword> references, acting as both, a hat-tip to its cultural impact and its critique for normalising stereotypes. It was important for Niren, who feels he had to call out romanticising of everything wrong in mainstream films. This also seeped in how the character of Bala was shaped. "We wanted him to be a mimicry artiste. The whole arc was, he mimics someone else and in the end starts doing stand-up where he's playing himself. One becomes a mimicry artiste if you're a film buff. When we started writing, we had two options- either he can do Salman or Shah Rukh Khan, whatever the actor is comfortable with. "Salman, because we wanted him to be like Radhe from Tere Naam with that iconic hairstyle. But Ayushmann was more comfortable with Shah Rukh so we went with that, then he does mimicry of Ranbir Kapoor, Nana Patekar, Amitabh Bachchan. So, Bollywood was always there." JUR RB/RDS RB RB RB

Ayushmann's Bala script changed from a Ganga pollution story to that of a bald man's struggles

Welcome to another action-crime thriller with big dollops of <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> masala that has earned a decent response at the <keyword id="25892" type="ORGANIZATION" weightage="100" keywordseo="box-office">box office</keyword>. But if you are expecting a movie featuring <keyword id="6354925" type="COMPANY" weightage="100" keywordseo="Kolkata">Kolkata</keyword> in the troubled 70s or a big-time gangster flick that reveals a human core, it will be better to skip <keyword id="6427325" type="UNKNOWN" weightage="100" keywordseo="Gunday">Gunday</keyword>. Directed by <keyword id="6368814" type="PERSON" weightage="100" keywordseo="Ali-Abbas-Zafar">Ali Abbas Zafar</keyword>, this gun-goon-and-gal flick has loads of twists and turns, follows a long-winded <keyword id="1097560" type="UNKNOWN" weightage="100" keywordseo="storyline">storyline</keyword> and stars big names including <keyword id="106133" type="PERSON" weightage="100" keywordseo="Ranveer-Singh">Ranveer Singh</keyword>, <keyword id="114453" type="PERSON" weightage="100" keywordseo="Arjun-Kapoor">Arjun Kapoor</keyword>, <keyword id="1655" type="PERSON" weightage="100" keywordseo="Priyanka-Chopra">Priyanka Chopra</keyword> and <keyword id="16207" type="PERSON" weightage="100" keywordseo="Irrfan-Khan">Irrfan Khan</keyword>. But that’s where its claim to fame should end unless you are ready to ogle some brawn and oomph, a pseudo-historical account of the times and a glimpse of the City of Joy as the background. 
 
Gunday was released on the Valentine’s Day (February 14) and tries hard to explore the <keyword id="1541122" type="UNKNOWN" weightage="100" keywordseo="bromance">bromance</keyword> between the male leads – the <keyword id="1739443" type="PERSON" weightage="100" keywordseo="outlaw">outlaw</keyword> duo of <keyword id="19013" type="PERSON" weightage="100" keywordseo="bikram">Bikram</keyword> (Ranveer) and <keyword id="17684" type="ENTERTAINMENT" weightage="100" keywordseo="Bala">Bala</keyword> (Arjun). While that is commendable to some extent, the contrived love triangle involving Priyanka (<keyword id="70837" type="PERSON" weightage="100" keywordseo="Nandita">Nandita</keyword>) looks scarcely convincing and her main utility seems to be getting the eyeballs. 
 
Yet, the movie has done fairly well at the box office, netting around Rs 43.93 crore at home after the first weekend. Gunday has, however, failed to race past another action thriller, Salman-starrer <a href="http://www.businessinsider.in/Jai-Ho-Salman-FightsThrough-Clichs-Fails-To-Create-A-Dhoom/articleshow/29505187.cms">Jai Ho</a>, which earned around Rs 60 crore in the debut weekend. Overseas collections of Gunday stood at $2.16 million gross. But there was a drop in collection on the crucial Day 4 (February 17) and the movie netted around Rs 6.5 crore as per industry estimates. Still, we are seeing some steady traction and Gunday may soon enter the coveted Rs <keyword id="6567206" type="UNKNOWN" weightage="100" keywordseo="100-crore-club">100 crore club</keyword>. The flick, made on an approximate budget of Rs 50 crore including promotions, has reportedly hit over 2,000 screens across India. 
 
Coming back to the story, let’s have a close look at what makes Gunday kind of unpalatable. Interestingly, <keyword id="2217" type="ENTERTAINMENT" weightage="80" keywordseo="Big-B">Big B</keyword>, who had watched the film at its Mumbai premiere, told the media that it’s “an adrenaline-packed movie.” That’s true and Gunday tries to capture the saga of angry young men who get on the wrong side of the law on their way to a glamorised life of crime. Does it remind you of Deewaar? The broad <keyword id="50138" type="UNKNOWN" weightage="100" keywordseo="Theme">theme</keyword> of Gunday is not unlike that old classic but then, everything else has gone awry – be it storyline, acting, periodicity or dialogues. 
 For one, the entire journey of Bikram and Bala looks patchy. The movie fails to give us a realistic version of the metamorphosis they have undergone – from orphan kids (migrants from <keyword id="6354759" type="COUNTRY" weightage="80" keywordseo="Bangladesh">Bangladesh</keyword>) to big-time coal mafias who are always on the run from the law. But in doing so, Ranveer-Arjun display loads of bromance; get involved in <keyword id="2065117" type="UNKNOWN" weightage="100" keywordseo="Shirtless-fights">shirtless fights</keyword> à la <keyword id="6354583" type="PERSON" weightage="80" keywordseo="Salman-Khan">Salman Khan</keyword>, and show off their biceps &amp; waxed 6-packs (imagine that in the 70s) quite unabashed. Are they the new <keyword id="2065120" type="UNKNOWN" weightage="100" keywordseo="Male-eye-candy">male eye candy</keyword>, we wonder? But more than that, they are the brainless brawn type who can be easily trapped by the cops. 
 The duo duly falls in love with the <keyword id="2065114" type="UNKNOWN" weightage="100" keywordseo="gorgeous-cabaret-dancer">gorgeous cabaret dancer</keyword> Nandita (Priyanka Chopra) who obviously can’t be what she seems. So she turns out to be an <keyword id="2065123" type="ORGANIZATION" weightage="100" keywordseo="Undercover-police">undercover police</keyword> officer, in league with <keyword id="2065121" type="UNKNOWN" weightage="100" keywordseo="ACP-Satyajeet-Sarkar">ACP Satyajeet Sarkar</keyword> (Irrfan Khan). A look at Nandita’s get-up makes us wonder whether Kolkata had ever seen such flamboyant fashion trends during that period. Still, Priyanka is playing the role of a seductress and <keyword id="77110" type="UNKNOWN" weightage="100" keywordseo="Undercover-agent">undercover agent</keyword>. So she must look lethal, even when she is clad in the traditional saree. In contrast, Irrfan does a commendable job and does the voiceover, too. 
 What you may love about this movie is the easy-flowing chemistry between Ranveer and Arjun, some good punch lines and Irrfan’s great acting. But the flick falls flat by the end as clichés abound and not even the suspense ending can save it. Protagonists/anti-heroes of this sort can attain a different height if the storyline and the characters are handled with subtlety and sensitiveness. But <keyword id="303" type="POSITION" weightage="80" keywordseo="Director">director</keyword> Ali Abbas Zafar gives as something as crass and over-the-top as his earlier movie, <keyword id="440305" type="UNKNOWN" weightage="80" keywordseo="Mere-brother-ki-Dulhan">Mere Brother Ki Dulhan</keyword>. And the outcome? As Mohar Basu of Koimoi says, it’s a “sexy show gone dull.” All because talented actors are made to struggle to find their rhythm in a cliché-laden <keyword id="6371619" type="UNKNOWN" weightage="100" keywordseo="plot">plot</keyword>. 
 
Image: Indiatimes

Box Office: Gunday Leaves
You Clueless But Cash Register is Ringing

<ul><li>There are at least four movies which are completely focused on the problem of baldness or hair loss. </li><li>The first movie to focus on baldness in 2019 was Gone Kesh starring Shwetha Tripath </li><li><keyword id="2823" type="PERSON" weightage="20" keywordseo="Akshay-Kumar">Akshay Kumar</keyword> also went bald in his latest song Shaitaan ka sala bala for the movie Housefull 4 </li></ul>Looks like Bollywood has developed a liking for a strange trend— baldness. There are at least three movies this year, the storyline where the protagonist suffers from hair loss. So much so, makers of one of the films--Ujda Chaman staring Sunny Singh of Sony ki Tittu ki Sweety fame-- filed a legal case against the makers of Ayushman Khurana’s Bala. The trailers of both the films promises the same story of a single man’s losing fight with — premature baldness. Amidst the melee, yet another movie with the same story line released, drawing little attention. Gone Kesh starring Shwetha Tripathi also tells the story of a young girl Enakshi who wants to get married but unable to because of her a medical condition called alopecia — an autoimmune disorder that often results in hair loss. The film was released in March this year and reportedly earned ₹1.3 crores on the day of release. But the real fight is between Bala and Ujda Chaman. Apart from the same plot, the look of two actors and dialogues are too similar to miss. Strangely both the films will hit the theatres within a gap of 24 hours. Bala will release on November 7 — a week before its original schedule — while Ujda Chaman will hit the theatres a day later, on November 8. Ujda Chaman’s director Abhisekh Pathak claims his film is an official remake of <keyword id="4293900" type="PERSON" weightage="20" keywordseo="ondu-motteya-kathe">Ondu Motteya Kathe</keyword> a 2017 Kannada movie. Bala’s director Amar Kaushik however stands strong on the originality of his film. "I am away from all of this. I am doing a film, I am also getting to know that this film ('Bala') is kind of similar. Initially you feel like 'why and how is this happening?' but then you feel it's ok. He's playing his part, I am playing mine. We both are actors doing our jobs. I love him and I'm a fan of his acting," said Sunny Singh, the actor of Ujda Chaman. As if this drama isn’t enough, <keyword id="188" type="ENTERTAINMENT" weightage="20" keywordseo="Diwali">Diwali</keyword> release Housefull 4 also shows Akshay Kumar sporting a bald look. And the movie has enough bald jokes as well. Looks like Bollywood is obsessed with the bald and the beautiful. (With inputs from PTI)

Bollywood is going bald this year with at least three movies on the same topic

New Delhi, August 16 may have been a working day, but Rajinikanth's '<keyword id="218107" type="General" weightage="20" keywordseo="jailer" source="Orion">Jailer</keyword>' and Sunny Deol's '<keyword id="1847504" type="General" weightage="20" keywordseo="Gadar-2" source="Orion">Gadar 2</keyword>' not only did well, but also left the Akshay Kumar-starrer '<keyword id="452656" type="General" weightage="20" keywordseo="OMG" source="Orion">OMG</keyword> 2' and Chiranjeevi's 'Bholaa Shankar' way behind. At the end of Day 6, 'Gadar 2' was sitting on a worldwide collection of Rs 338.50 crore (gross receipts across India, Rs 308.50 crore, which includes the 18 per cent GST component, plus Rs 30 crore overseas). Interestingly, Tara Singh's one-man war against Pakistan seems to have touched a chord in Chennai, for the southern metropolis saw a 73.75 per cent occupancy in theatres for 'Gadar 2'. Pakistan-bashing, clearly, works as much in the south as it does in the north, that too on a working Wednesday. 'Jailer', being a Tamil film, doesn't have as big a footprint as 'Gadar 2', yet with Thalaiva Rajinikanth headlining it, by its seventh day, it had amassed Rs 420 crore (all-India gross receipts, Rs 264.70 crore, plus Rs 155.30 crore overseas). Of course, the film's domestic collections have come mainly from the four southern states, led by Tamil Nadu (Rs 121.60 crore), followed by Andhra Pradesh / Telangana (Rs 53.50 crore), Karnataka (Rs 44.40 crore) and Kerala (Rs 35.90 crore). But Rajini's global fan following has ensured an overseas collection more than five times higher than that of 'Gadar 2', enabling it to be India's No. 1 movie today. 'OMG 2', in contrast, has just crossed the Rs 100-crore mark (Rs 108.80 crore, including all-India gross receipts of Rs 93.80 and an overseas collection of Rs 15 crore), even as 'Bholaa Shankar' is languishing at Rs 39 crore (all-India gross receipts, Rs 33.40 crore, plus Rs 5.60 crore earned overseas). 'Jailer' was massively hyped across South India, with offices in Tamil Nadu even giving a day off to their employees to watch the film on August 10 upon its release. Rajinikanth's persona in the movie is that of an old jailer hunting down a notorious gang lord and mercilessly eliminating his gang members. Regarding the magic of 'Jailer' at the box office, trade expert Ramesh Bala said: "Rajinikanth is a Superstar. The 'Superstar' tag alone is enough to garner it all the attention it needs. And then, he also benefits from worldwide recognition." Continuing his analysis, Bala said: "Apart from Rajinikanth, the movie has good content, it is different, and has other famous faces from the South, notably Malayalam superstar Mohanlal and Ramya Krishnan. But when you mention Rajinikanth, words such as swag, cool, attitude come to mind, and his 50-year-plus career and humble nature also help." Bala expects the lifetime collection of 'Jailer' to touch Rs 600 crore, which means it will surpass last year's 'Ponniyin Selvan 1' and 'Vikram', and stand just behind Rajini's '2.0'. 'Gadar 2' is not expected to cross Rs 450-500 crore, but its makers, having produced the film reportedly for Rs 75 crore, are already laughing all the way to the bank.

Rajini Rules: 'Jailer' is No. 1 with Rs 420 cr in 7 days; 'Gadar 2' clocks Rs 338.5 cr in six

The first <keyword id="3354" type="General" weightage="20" keywordseo="indian-model" source="Orion">Indian model</keyword> in history to open the <keyword id="16083449" type="General" weightage="20" keywordseo="versace-runway" source="Orion">Versace runway</keyword>, beating out the likes of Bella Hadid and <keyword id="1916728" type="General" weightage="20" keywordseo="emily-ratajkowski" source="Orion">Emily Ratajkowski</keyword>, Avanti Nagrath makes her Vogue India cover debut with its Jan/Feb 2023 issue. Divya Bala meets the girl of the moment blazing a trail through the international fashion scene. You're a model from Delhi in Milan for the first time, fresh out of your teens. You're somewhere in the sprawling, sumptuous headquarters of Versace, perhaps feeling a little out of your depth. You've made it through a room full of 70 other hopeful models and been approved by five gatekeepers of one of fashion's most storied luxury houses to be booked for your first international runway. A living legend-in this case, Donatella Versace-is overseeing your fitting, ensuring the precision tailoring of the sharply-cut black suit you are wearing lives up to the Versace standard. Suddenly, she flicks back her curtain of flaxen hair to look at you and, in her gravely Italian drawl says, "Do you know you're opening the show?" It's the kind of fairy-tale story that model dreams are made of, one that is Avanti Nagrath's reality. However, the 21-year-old has trouble believing it, even almost a year on. It was then that she burst onto the international fashion scene, opening the Versace autumn/winter 2022-23 show at Milan Fashion Week on February 25. "It still feels like a dream when I think about it-even while I was walking the show it felt like a dream. There were so many models around, it was Bella [Hadid]. It was Gigi [Hadid], and I'm the one opening the show?" Nagrath recalls, speaking from her home in Delhi, where she is taking a break before returning to the circuit in January. "I told myself, 'You can get intimidated by the big names, but just do what you do best and forget whatever else is around you.' And because I was the first girl out, I was like, 'If I don't go out, the whole show is going to stop.' So the second they said, 'Go!' I put blinders on and walked." Born and bred in Delhi, growing up with her parents, her younger brother and her grandmother, Nagrath was a self-confessed "outdoor kid", a tomboy who enjoyed nothing more than playing sports. And when she wasn't on the basketball court, she was perpetually in front of the camera. "My mum tells me that even when I was a kid, I loved taking photos. If there was a camera in front of me, I would pose for it. I still have pictures of myself doing the typical Bollywood pose-you know with your hip out, and your hand on your hip," she says, with a laugh. "And then at 14, my mum and I were sitting together and she asked, 'Why don't you try modelling?' I had always loved [modelling] and looked up to models like Bella Hadid, Emily Ratajkowski and Naomi Campbell, so I thought, why not? I took a few pictures and put it on social media and then a few agencies approached me." With the support of her mother, Nagrath started modelling at 15, between classes at the Modern School Barakhamba and extracurricular duties as an avid basketballer. (Nagrath was captain before handing over her captaincy to a teammate due to the growing demands of her modelling career. A movie moment saw her wave the flag at her school sports day before swapping her basketball shorts and sneakers to walk in one of Tarun Tahiliani's saris at his show at Lakme Fashion Week.) She has also worked with the likes of Rahul Mishra, Manish Malhotra, Lovebirds and Pankaj &amp; Nidhi, garnering attention for her appearances at 2019's FDCI-organised Fashion Week in Delhi. "I learnt a lot in India," explains Nagrath. "I met so many designers and people in the industry. I figured out how the industry works, how a runway show is. My vision was that I always wanted to be an Indian model representing India outside. I have that ambition of wanting to do something big." Upon graduating in 2020, Nagrath was anxious to go abroad to economics school and continue modelling, however, Covid and a vaccination mishap would more or less ground her until January 2022 when she was able to restart conversations with her agents. She then flew to Europe and promptly booked the aforementioned Versace show. For autumn/winter 2022, she would go on to walk for Bottega Veneta in Milan, The Row, Coperni and Givenchy in Paris. Since then, she has also worked for Burberry, 1017 ALYX 9SM, Jacquemus, Chanel, Ferragamo, Courreges, Hermes and Ralph Lauren, as well as the Alaia Summer 2023 lookbook, the Proenza Schouler White Label campaign and the Versace autumn/winter 2022-23 campaign. I ask Nagrath what she thinks it might be about her that have endeared her so instantly to the echelons of high fashion (besides her razor-sharp angles, glossy black hair, feline nose and pillowy lips, of course). She politely demurs: "I don't look at it that way. I just feel like this is something I love doing, and for me, what's important is how you are as a person. No matter what you do, you always have to be humble and grounded, no matter how much you achieve." When it comes to her off-duty style, a quick scroll through her Instagram reveals an aesthetic where racy meets tomboy: printed cargos with short tank tops, leather trousers with cropped shirts, baggy hoodies and ripped jeans amidst a strong smattering of saris. While she has begun her collection of luxury bags (the first bag she ever bought for herself was a Louis Vuitton), her footwear obsession is singular. "I love wearing Jordans the most-I love any Nike sneakers. Whenever I'm working I'm in sneakers, in case people are like, 'You're too tall!' So I rarely wear heels." "I think I'm still figuring out what my actual style is. It really depends on the way I'm feeling on a particular day," she explains. "I like to wear streetwear quite often. In Paris, I need to look chic, so I'll wear tight jeans with a nice blazer and boots. I just love being natural, I don't like to overdo it with my dressing. In terms of clothes, I like to experiment with up-and-coming brands and Indian labels. I love going vintage shopping too. I have this one brand called Esse Studios which I really love. I have a Siddartha Tytler skirt with me which is really cool. I love Atsu, I love UpToNoGood. There are so many brands coming up in India and I really want to work with them and see what they have because it's just nice to take them abroad with me and then have (the people I work with) see that there's so much potential in the Indian industry in terms of fashion. So my goal, in a wardrobe sense, is to explore the Indian market and start building my wardrobe." For her Vogue India shoot, Nagrath posed in a kaleidoscope of colours around Bandra in Mumbai, having flown in for the day from London on her way to Delhi, a location that brought her fond memories from her early days modelling in Maximum City and how far she has come. "It felt unreal to do the cover for Vogue because, again, that was something I always wanted to do. I have a collection of Vogue magazines in my room. [The idea] that I'm going to buy one which has me on the cover and put it over there [with the others] is just crazy. And the fact that my first [magazine] cover is going to be Vogue India is a big deal." Nagrath pauses. "I always tell my agents that I want to start from home. If I do something abroad, I want to come back and be an inspiration for the people at home. So it's a huge deal for me." SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/thelife/personalities/news/hyderabads-nizamate-comes-to-an-end-but-the-mystery-shrouding-a-chequered-saga-continues/articleshow/97045410.cms" style="">Hyderabad's Nizamate comes to an end but the mystery shrouding a chequered saga continues</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/news/zillionaire-this-startups-founders-walk-away-with-an-investment-double-the-original-ask-on-shark-tank-india/articleshow/97029721.cms" style="">Bling and ka-ching! – This startup’s founders walk away with an investment double the original ask on Shark Tank India</a>

First Indian model ever to open Versace runway beats Bella Hadid, Emily Ratajkowski for the job

<ul><li>Darbar featuring <keyword id="14509" type="PERSON" weightage="20" keywordseo="Rajinikanth">Rajinikanth</keyword> and Nayanthara has crossed ₹2 crore mark in Chennai. </li><li>It is also off to a good start in several foreign countries including Singapore, Malaysia and Australia. </li><li>The movie is already a winner since it earned as much as ₹220 crore by selling rights.</li></ul>Darbar featuring Rajinikanth and Nayanthara has crossed ₹2 crore mark in Chennai on its first day. In Hyderabad, the film has grossed ₹12.05 lakh, according to trade analyst LM Kaushik. 
	<div type="twitter" handle="LMKMovieManiac" handlename="Kaushik LM" image="http://pbs.twimg.com/profile_images/1188062171344732160/vXAEdi-4_normal.jpg" favoritecount="4983" retweetcount="1032" status="GLORIOUS OPENING for #Darbar in Chennai city - Day1 gross is a phenomenal 2.27 CR 👌💥 It's a record second 2 CR+ ci… https://t.co/SdajFBVSN7" createdat="1578594568000" id="1215339822216175617"></div>



 
	<div type="twitter" handle="rameshlaus" handlename="Ramesh Bala" image="http://pbs.twimg.com/profile_images/759927067681042433/GW1NFtOZ_normal.jpg" favoritecount="905" retweetcount="109" status="#Darbar takes a Massive Opening in Hyd RTC X Roads.. Day 1 Gross: ₹ 12.05 Lakhs.." createdat="1578621867000" id="1215454324513394689"></div>



 Long before release, Darbar has been the twitter trend. The movie is already a winner since it earned as much as <a href="https://twitter.com/LMKMovieManiac/status/1215339822216175617">₹220 crore by selling rights</a>. And, it could bring in viewers en masse since it’s the only movie released during Pongal, the biggest festival in South India. The film, directed by AR Murugadoss, sees Rajinikanth play a cop named Aaditya Arunasalam, who has no rules or mercy. Like most of the heroes in Murugadoss's films, Aaditya Arunasalam has to break the law to ensure justice is served. When he is sent to Mumbai on a special operation to handle the city's drug menace, he goes on a murderous rampage. He gets labelled 'a murderer' and 'a cop with no ethics' by the papers. As part of the operation, Aaditya crosses paths with dreaded gangster Hari Chopra (Suniel Shetty) and the ensuing face-off between them forms the crux of the story. Among the other stars are Nayanthara, Suniel Shetty, Nivetha Thomas, Prateik Babbar and Nawab Shah. It is also off to a good start in several foreign countries including Singapore, Malaysia and Australia. It is the number one debut in Singapore followed by 1917, Ip Man 4: The Finale and Ashfall. The film has earned $615 in the USA as well, according to trade analyst Ramesh Bala. 
	<div type="twitter" handle="rameshlaus" handlename="Ramesh Bala" image="http://pbs.twimg.com/profile_images/759927067681042433/GW1NFtOZ_normal.jpg" favoritecount="329" retweetcount="58" status="#Darbar debuts at No.1 in #Singapore https://t.co/XkcwD5NUCE" createdat="1578621671000" id="1215453499665707008"></div>



 Twitter was flooded with positive reviews soon after the film was released. At some theatres in South India, people were seen showering flowers and coins to celebrate the movie. 
	<div type="twitter" handle="madraswallah" handlename="Arjun Narayanan" image="http://pbs.twimg.com/profile_images/861100969823698945/r2By0SvF_normal.jpg" favoritecount="6" retweetcount="3" status="Crackers, drums, flowers. These moments make the experience of cinema special for me. An ode to the good old Rajini… https://t.co/PIHlgxqp6e" createdat="1578540079000" id="1215111280823980032"></div>


 However, film critics are not very pleased with the movie. They believe the movie is strictly for Rajinikanth’s fans and delivers nothing new. “Despite A.R. Murugadoss offering very little substance for him to work with, the superstar just about manages to carry this film on his aging shoulders” <a href="https://www.thehindu.com/entertainment/movies/darbar-movie-review-a-charismatic-rajinikanth-shoulders-an-okayish-masala-movie/article30521045.ece">wrote Srivatsan S from The Hindu. </a> See also: 
 <div type="Article" hostid="261" msid="73182917" title="Rajinikanth’s Darbar becomes an instant hit - with the Internet" mstype="2" mssubtype="0"></div>


<ul></ul>

‘Superstar’ Rajinikanth’s latest blockbuster enters the ₹2 crore ‘Darbar’ on day one⁠— as fans in Chennai, Singapore, and Kuala Lumpur flock to the theatres

<div class="KonaFilter image-container display-table"><div><div class="image on-image">Blumhouse"Glass."</div></div></div><ul class="summary-list"><li>"Glass" won the weekend box office for a third-straight weekend.</li><li>The movie took in $9.5 million.</li><li>STXfilms' "The Upside" now is the second-biggest all-time earner in the company's history with a $75.5 million domestic total.</li></ul>Universal chose the right time of year to release "Glass."With little competition, the final chapter in the M. Night Shyamalan trilogy has owned the domestic box office for multiple weeks and Super Bowl weekend was no different.The movie took in an estimated $9.5 million over the weekend, giving it a domestic total of over $88 million (its global total is just shy of $200 million)."Glass" matched the previous movie in the franchise, "Split," with three straight weekends at the top of the box office. But with much lower figures for "Glass." The take for "Split" in its third weekend in theaters was <a href="https://www.boxofficemojo.com/movies/?page=weekend&amp;id=split2017.htm" target="_blank" rel="noopener">$14.4 million</a>.<div class="KonaFilter image-container display-table"><div><div class="image on-image">STXfilms"The Upside."</div></div></div>In second for Super Bowl weekend with $8.8 million is STXfilms' "The Upside," which also continues to do great business. The Kevin Hart/Bryan Cranston dramedy has a domestic cume of $75.5 million after four weeks in theaters. That makes it the <a href="https://www.boxofficemojo.com/studio/chart/?view2=allmovies&amp;view=company&amp;studio=stx.htm" target="_blank" rel="noopener">second-highest grossing movie</a> domestically for the company in its history (2016's "Bad Moms" is still the company's highest grosser with $113.2 million).Read more: <a href="https://www.businessinsider.com/velvet-buzzsaw-director-on-how-superman-lives-inspired-him-2019-1">The director of Jake Gyllenhaal's Netflix movie, "Velvet Buzzsaw," explains how a doomed Nic Cage Superman film inspired him to make it</a>These two movies were the only ones to do consistent business at the multiplex in January, and that's now bleeding into February. The only new release this weekend from a major studio, Sony's "Miss Bala," had no chance competing as it only took in $6.7 million on over 2,200 screens.Expect business to pick up a little this coming weekend as Warner Bros. releases "The Lego Movie 2: The Second Part." <div class="margin-top"> <h3>NOW WATCH: <a href="https://www.businessinsider.com/babies-cry-movies-tv-hollywood-baby-wrangler-kids-2019-1">Here's how they make babies cry in TV and movies</a></h3> <div> </div> </div>

'Glass' tops the box office for a 3rd straight weekend

<ul><li>INOX’s total revenues rose by 19% to ₹518 crore and EBITDA grew at 25% and reached ₹108 crore. </li><li>INOX’s advertising revenue has gone up by 3% and stands at ₹58 crore. Profit After Tax also grew by 40% growth to ₹51 crore. </li><li>INOX sold 17 million tickets in the quarter, delivering a 11% growth in its footfalls. Housefull 4 and War were the top draws.</li></ul>INOX Leisure (INOX) reported financials for the third quarter ending 31st December 2019. The results were taken on record by the Board of Directors today at a meeting held in Mumbai. As per its statement, INOX’s advertising revenue has gone up by 3% and stands at ₹58 crore. Its footfall showed a 11% growth as INOX sold 17 million tickets in the Quarter. It closed the 3rd Quarter of FY2020 with a total revenues at ₹518 crore, reporting 19% growth, on a Y-on-Y basis. At ₹108 crore, EBITDA delivered a 25% growth and PAT stood at ₹51 crore with a 40% growth. INOX also rolled out its loyalty program, INOX REWARDS. This tier-based cinema loyalty program has already garnered more than 4 million members, within two months of its launch. The launch of INOX REWARDS also commemorated the historic milestone of 600 screens across the country. While action film War and comedy movie Housefull 4 were the top draws, content-driven movies like Bala and Good Newwz also played their part in inviting guests to INOX multiplexes across the country. The company has added 46 new screens in FY20 so far. Continuing its focus on technology, formats and experiences, INOX developed a multiplex at C21 Mall, Indore with 9 screens and 1486 seats, including INSIGNIA, MX4D and Club. Siddharth Jain, Director – INOX Group added, “We have been writing a consistent growth story at INOX, with our uncompromised and relentless business focus, enabled by some outstanding innovations in the space of Luxury, Service and Technology. We are proud to remain consistent on all parameters, while remaining focused towards guest experience, the core of our business. Our loyalty program, which would allow us to serve our guests better, has been very well received and appreciated by them. We will continue to remain committed to curating memorable cinema experiences and taking them closer to the millions of our guests across the country with our consistent roll out plans. The Quarter once again established the importance of content, which continues to drive guests to our cinemas, and allowing us to treat them with our high standards of hospitality.” Summary of the Operational Results* <table style="border-width: initial; border-style: none;"></colgroup><tbody><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:top;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Particulars </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:top;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Q3-FY20 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:top;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Q3-FY19 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:top;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">YoY Growth % </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Total Revenues (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">518 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">436 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">19% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">EBITDA (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">108 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">87 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">25% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">PAT (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">51 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">36 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">40% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">ATP (in Rs) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">204 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">206 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Maintained </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">SPH (in Rs) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">81 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">74 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">10% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Box Office Revenue (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">288 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">243 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">19% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">F&amp;B Revenues (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">130 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">106 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">22% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Advertising Revenues (in Rs Cr) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">58 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">56 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">3% </td></tr><tr><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">Footfalls (in Lacs) </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">169 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">153 </td><td style="border-left:solid #000000 0.5pt;border-right:solid #000000 0.5pt;border-bottom:solid #000000 0.5pt;border-top:solid #000000 0.5pt;vertical-align:middle;padding:0pt 5.4pt 0pt 5.4pt;overflow:hidden;overflow-wrap:break-word;">11% </td></tr></tbody></table> *Excludes impact of Ind AS 116

INOX's advertising revenue grew by 3% to ₹58 crore

<ul><li>Ayushmann Khurrana has been listed as one of the top 100 Influential People in the world by TIME today. </li><li>With his rising popularity and influential power, the actor seems to be on a winning streak in the advertising world. </li><li>He has bagged marquee brands like KitKat, Peter England, The Man Company, Bajaj Allianz, to name a few, in the past few months amid a global pandemic. </li><li>We speak to experts to find out what are some of the qualities that make him influential in the brandverse. </li></ul>Ayushmann Khurrana, the only Indian actor to be featured on TIME’s 100 Most Influential People in the World list, is also becoming India’s favourite brand endorser. Even during the on-going pandemic -- when brands have tightened their purse strings -- Ayushmann has managed to grab more attention from brands and bag endorsement deals from marquee brands such as JSW India, Nestle, Toyota, Bajaj Allianz, Sprite, The Man Company, UNICEF, to name a few. Despite not having done a single blockbuster movie this year, apart from Shubh Mangal Zyada Savdhan and the virtually-released Gulabo Sitabo, Ayushmann is on a winning streak in the branding world. 2020 is turning out to be a tipping point for his career as a brand endorser. Ayushmann has around 25 brands in his kitty and in Duff &amp; Phelps’ report released in 2019, Khurrana was a new entrant at rank 10 with a brand value of $40.3 million. In the times when everyone is talking about nepotism in Bollywood, associating with Ayushmann also seems like a safe and perfect bet for an Indian brand. He is the boy-next-door from Chandigarh who has made it on his own in the industry. After his first appearance in MTV Roadies Season 2, Ayushmann found his ticket to Bollywood as Shoojit Sircar offered him a leading role in Vicky Donor. Since the beginning of his career, Ayushmann has been very picky with his choice of movies. He has made a conscious effort to increase representation of different kinds of Indians in his movies by playing a homosexual man in Shubh Mangal Zyada Savdhan, someone who suffers from erectile dysfunction in Shubh Mangal Saavdhan and a bald guy in Bala. He is also known for movies like Article 15, Dum Laga Ke Haisha, Dream Girl and Badhaai Ho that have started a conversation around different social issues. It is his choice of films that Vani Gupta Dandia, Founder of CherryPeachPlum Growth Partners - a marketing-led business consultancy thinks makes him the ideal fit for all challenger brands. She said, “AK is an actor who comes across as someone with a very, very strong personality. He's chosen to do films which stood out for the stands they took, for the very 'difficult to speak about' subjects in society. The most appealing thing about Ayushmann Khurrana is that while he has chosen to do very offbeat films he still has a very mainstream appeal. His brand endorsements have also been in line with the offbeat actor he comes across as.” On what qualities does he stand for and which brands should he choose, Vani Gupta Dandia added, “Brands that are looking for halo values like intelligence, substance vs frivolous mass appeal, gumption to stand up for difficult causes, choose v/s be chosen, and strong-mindedness - are best suited for a tie-up with him. He must be careful to stay true to who he is and not fall into the trap of the typical bolly 'dance- around-the-trees' mould. His appeal is in being a 'deliberate' and intelligent actor. Not the mainstream hero. He should carefully nurture this positioning and associate with causes and brands that fortify his own imagery in the consumers’ mind.” Karthik Srinivasan, Independent Brand Consultant and Social Media Expert, calls Ayushmann the Amol Palekar of our times - a true 'everyman', but with extra panache. He explained, “Given his smart choice of film scripts where he plays 'everyman' without the extraordinary stunts that define our films' heroism, and convincingly pulls off seemingly 'normal' roles, and given the enormous success he has garnered in such narratives, he fits perfectly for any brand that wants a relatable super-celebrity.” Talking about what makes Ayushmann brands’ favourite, Harish Bijoor, Brand Guru &amp; Founder, Harish Bijoor Consults Inc. said, “He is not the big-boots star of Bollywood. Neither is he a peripheral actor, many of whom come, survive and leave. He is someone in-between. And that's the beauty of his success today. As an actor, he is a method actor of repute. He has under his belt a series of hits that few can boast. In many ways, he is the small-budget star who takes the entire ecosystem of the film that is made to success. Today, viewers of Hindi cinema are bored to death by the big stars and the bigness they represent. In many ways, this is a David versus Goliath liking that comes to the fore. The big star is just too big, unapproachable and just too far away physically and metaphorically. The smaller star is that much closer, and that much more to emote with as a persona. This is Ayushman's touchstone of success.” Ayushmann also bagged a deal with Bajaj Allianz Life this month. On why the brand chose him as its face, Chandramohan Mehra, Chief Marketing Officer, Bajaj Allianz Life, said, "Ayushmann outscores his new age peers on the attributes of relatability and likeability, across consumer profiles. Also, in context of his rise on back of the smart, unconventional and consistent choices he has made, his marketability has enhanced. He is seen as a role model and hugely talented across profiles of age, gender and income groups." Ayushmann can act, sing and dance. He also writes poetry. His versatility and boy-next-door image make him brands’ sweetheart. N. Chandramouli, CEO, TRA said, “Ayushmann Khurrana is one of the multi-talented, multi-faceted actors who has a range of successes behind him in the movies. Without controversies, he is a stable bet for any brand. He has been considerably active in social media during the lockdown and combined with his earlier successes, this has increased his social media presence and salience. Ayushmann is versatile and he can endorse a range of categories, right from footwear to ice-creams, menswear to colas. His affable persona, boy-next-door looks gives him a wide range to choose from. Cost is a key driver for brands when choosing between endorsers, and his costs being lesser than superstar fees, makes him amenable to be the pick of brands, too.” Lately, we have seen endorsers who are more than a model but less than a nepotism-breed superstar like Vicky Kaushal and Ayushmann, get popular in the brandverse. With this, the definition of ‘superstar’ is also changing. Explaining what is driving this change in the industry, Srinivasan said, “Ayushmann is a bonafide superstar, by star value and films' success alone. As for the industry trend of more than a model, but less than a superstar, it could be mirroring the interest in tier-2 and tier-3 social media stars so that brands can tap into small user circles who are their followers. Similarly, given that mainstream, theater-led cinema was the only criteria to bill someone as a superstar at one point, there are now many other media platforms for someone to be called a budget-superstar or a different kind of superstar. Many actors have become big only by doing OTT shows, and many on TV alone. So there's a better range for that phrase 'superstar' now.”

Why Ayushmann Khurrana, the only Indian actor to feature on TIME’s 100 Most Influential People list, is also the blue-eyed boy for brands

<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div><ul><li>The Showtime documentary "Love Means Zero" (airing Saturday) looks at the career of tennis coach Nick Bollettieri.</li><li>But the main focus of director Jason Kohn's movie is the relationship Bollettieri had with his star student, Andre Agassi.</li><li>Kohn talked to Business Insider about why he had to have a confrontational relationship with the coach to get the movie he wanted.</li></ul> In the 1990s, there was no bigger coach in tennis than Nick Bollettieri. A charismatic motivator with an oversized ego, he also had a gift for molding raw talent into champions.At his lauded tennis academy, he launched the careers of tennis legends like Jim Courier, Monica Seles, Mary Pierce, Serena and Venus Williams, Maria Sharapova, and Anna Kournikova. By his count, 180 grand slam titles would come out of players he coached.But his crown jewel was Andre Agassi.&#xa0;<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div></div></div>Coming to Bollettieri's school as a teenager, Agassi instantly caught the coach's eye because he was different. His attitude, his game, it all just shouted superstar. Bollettieri, yearning to be a star himself, put Agassi under his wing and the two became inseparable as his pupil became the hottest thing in the sport.&#xa0;However, the good times didn't last forever. Following two grand slam wins with Agassi, in 1993 Bollettieri shockingly left the player he said he loved like a son. And if that wasn't heartbreaking enough for Agassi, Bollettieri didn't give a passionate face-to-face goodbye but instead ended it all via a letter to his star. The two have not been on speaking terms since.&#xa0;Now decades later, at the age of 86, Bollettieri agreed to sit down with documentary filmmaker Jason Kohn ("Manda Bala (Send a Bullet)") to talk about it all. But "Love Means Zero" (airing on Showtime Saturday) is hardly a conventional sports documentary that looks back on the highlights of a legendary career. It's hard hitting and full of confrontation - just like its subject.&#xa0;Kohn admits he didn't have major aspirations for the project. In many ways he saw it as an opportunity to practice storytelling. Unlike his debut feature film, 2007's "<a href="https://www.imdb.com/title/tt0912590/?ref_=nv_sr_1" target="_blank" rel="noopener">Manda Bala (Send a Bullet),</a>" a complex telling of corruption and kidnapping in Brazil (it won the documentary grand jury prize at the 2007 Sundance Film Festival), Kohn could see from the start how to tell the story of Bollettieri: be as real as possible. "The biggest learning opportunity was figuring out how do I make this into a real story," Kohn told Business Insider. "How do I make this into a protagonist who has really clear specific goals and desires with very clear moments of conflict?"And that was the initial challenge for Kohn: getting Bollettieri to come on board with his idea.<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div></div></div> "I was extraordinarily concerned that if I wasn't able to get something real with Nick that this was just going to be a conventional sports documentary, and that was a genuine fear," Kohn said. "Even though I knew what the story was I didn't mention to Nick that I knew exactly what the story was I wanted to tell. Rather than say, 'I want to exclusively tell the story about his relationship with Andre,' what I told him is I wanted to tell a family story and that I wanted to tell a story about surrogate fathers and sons and the relationships between his players. At that point Nick said to me, 'Well, what about French Open 1989 when I chose [to coach] Andre [Agassi] over Jim [Courier]? They were both my boys.' And I was like, 'Nick, that's a wonderful idea!' Meanwhile, that was the treatment that I had written."With Bollettieri on board with the story, the other challenge was figuring out if Agassi would participate in the movie. Initially, Kohn had the project set up as a "30 for 30" documentary at ESPN. But it became clear that the network was only interested in the movie if Agassi was involved. After a year of back-and-forth discussions with Agassi's manager, Kohn finally got the "no" - Agassi would not be in the movie (Showtime snatched it soon after).&#xa0;What Kohn realized in that moment was he had been free of a major restriction: working with a temperamental superstar. He changed his story treatment from a 60-minute documentary to a 90-minute feature doc and began tracking down Bollettieri's former students.  Kohn's confidence in the project came from knowing how he wanted to structure the storytelling of Bollettieri and Agassi's relationship - using the battle sequences from the Akira Kurosawa samurai classic "<a href="https://www.imdb.com/title/tt0089881/" target="_blank" rel="noopener">Ran</a>" as a model for how to showcase three key Agassi matches - and capitalizing on the on-camera personality that Bollettieri would bring. But the latter turned out to be more than what Kohn bargained for. In an attempt to get Bollettieri out of his usual soundbite speak, the result was constant arguments caught on camera between the two that aren't just entertaining to watch, but a refreshing subplot to the movie. As most sports documentaries are helmed by directors too busy gushing over their subjects to get them to be revealing, Kohn can be heard off camera pleading with Bollettieri to give him genuine answers to his questions.Kohn said the key to the whole movie was that his producer Amanda Branson Gill had Bollettieri agree to sit down for two days of interviews. It was vital, because what Kohn realized was almost the entire first day was the famous coach doing the shtick he'd done for interviews for decades. "I was getting very frustrated," Kohn said. "Nick is self-mythologizing and when you're taking to people who are good storytellers and who have told the same story over and over and over again the actual story becomes extraordinarily detached from what actually happened. It was pretty boring."With visions of a conventional sports doc flashing before his eyes, Kohn at the end of the first day finally began to get Bollettieri out of his interview speak by confronting his subject on camera. Kohn said at the end of filming the first day Bollettieri got out of his seat and said to the crew, "You see that? Jason and I are fighting, it's great!"<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div></div></div>"I saw how well he responded to that so the second day of the interview I just went in with the idea that we're going to fight now," Kohn said. "And that was great, I felt really liberated." The result is one of the most powerful sports documentaries you'll see this year. Through the pressing by Kohn, Bollettieri opens up about the controversial decision to sit in Agassi's box when he played fellow Bollettieri protégé Jim Courier at the 1989 French Open, why he sent Agassi the letter ending his time as his coach, and why his world-renowned academy ended up not making any money.&#xa0;But where we find the macho coach's most revealing moment is when Kohn asks Bollettieri to read a passage from Agassi's autobiography, "<a href="https://www.amazon.com/Open-Autobiography-Andre-Agassi/dp/0307388409" target="_blank" rel="noopener">Open,</a>" in which the star writes an emotional letter directly to his old coach. It shows a rare vulnerable side of Bollettieri leading to him finally saying how he feels about his protégé: that he still cares deeply for Agassi.&#xa0;Kohn said he offered Agassi a chance to see "Love Means Zero" at a private screening when it was completed, but the tennis legend declined. Though he would have liked to have known what Agassi thought of the movie, it was more important for Kohn to find out what Bollettieri thought. The director admitted showing the movie to his subject for the first time was a strenuous ordeal.The small screening included some of Bollettieri's friends, and at the end it seemed the coach liked it, as he then held court and told stories. Kohn snuck out feeling it all worked well. Then around 10:30 that evening, Bollettieri called Kohn."I'm thinking, s---, this is when Nick is going to pull his mafia persona," Kohn said. "And then he game me a world class Coach Bollettieri 'I'm proud of you' speech and I was extraordinarily moved. The fact that I was moved was the most surprising thing to me because I wasn't looking for Nick's approval with this picture. I wasn't looking to make him happy. But that was the last thing about Nick's power as a coach and a motivator that I couldn't grasp until it happened to me. To give me the kind of speech I can only imagine he gave some of his players, I loved it."&#xa0;<div></div> <div class="margin-top"> <h3>NOW WATCH: <a href="http://www.businessinsider.com/how-insects-trained-for-tv-and-movies-spiders-cockroaches-butterflies-mosquitos-hollywood-steven-kutcher-2018-6">How insects are trained for TV and movies</a></h3> <div> </div> </div></hr>

Andre Agassi's troubled relationship with his coach led to a powerful new sports documentary you shouldn't miss

The first official trailer of <keyword id="183766" type="UNKNOWN" weightage="100" keywordseo="Bombay-velvet">Bombay Velvet</keyword>, starring <keyword id="6357861" type="PERSON" weightage="100" keywordseo="ranbir-kapoor">Ranbir Kapoor</keyword> and <keyword id="6357860" type="PERSON" weightage="100" keywordseo="Anushka-Sharma">Anushka Sharma</keyword> was released early this morning. Marking the mainstream debut of filmmaker <keyword id="3778" type="PERSON" weightage="100" keywordseo="Karan-Johar">Karan Johar</keyword> in a negative role, the movie has been produced by <keyword id="106474" type="CITY" weightage="80" keywordseo="Fox-Star-Studios">Fox Star Studios</keyword> and <keyword id="1363315" type="COMPANY" weightage="100" keywordseo="Phantom-Films">Phantom Films</keyword>, and has been directed by Anurag Kahsyap. 
 The movie is set in the 1960s <keyword id="6356654" type="COMPANY" weightage="80" keywordseo="Bombay">Bombay</keyword>, with Kapoor playing a boxer <keyword id="2171927" type="UNKNOWN" weightage="100" keywordseo="Johnny-Balraj">Johnny Balraj</keyword> who wants to be a ‘big shot’ and Sharma playing the role of Rosie, a singer he falls in love with. Johar can be seen as Khambata, a man in suave suits and serious looks, who reminds of the super-rich mafias of Bombay who can kill for fun. 
 Based on Mumbai Fables, a book written by historian <keyword id="177283" type="PERSON" weightage="80" keywordseo="Gyan-Prakash">Gyan Prakash</keyword>, the screenplay has been penned down by Anurag Kashyap,Vasan Bala and Thani. The movie is slated to release on May 15th. 
 
You can watch the trailer here:

Dark and intriguing, Bombay Velvet trailer leaves you wanting for more

Bromance has been redefined by two young and talented actors of the Hindi Film Industry. We are talking of <keyword id="106133" type="PERSON" weightage="100" keywordseo="Ranveer-Singh">Ranveer singh</keyword> and <keyword id="114453" type="PERSON" weightage="100" keywordseo="Arjun-Kapoor">Arjun Kapoor</keyword>, who we believe shared a bond of friendship even before they entered <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> as both of them are related to each other; but ever since they have appeared as Bikram and Bala in 2014’s Gunday, they have rekindled their bromance and how. 
 
First appearing in Gunday together, they got girls drooling over their oily bodies and flaunted their well-toned physiques. Even though both of them go mum when they are asked about the reason behind doing this movie, their friendship certainly evolved to the next level after the movie. 
 
Next, the world saw them together appearing at the chat show Koffee With Karan; both of them introduced the world to the term they had coined for each other, the much-endearing ‘Baba’. Answering questions hinting at a possible hook-up between the two with quite a comfort, the actors showed to the world that you can be good friends despite being each other’s arch competitors. 
 
Well, the good-looking jodi (we bet we can call them that because of their public displays of affection) rocked the nation once again when they came fully prepared to be roasted at AIB Roast. As we say rock, we mean it in all its glory because the show not only irked some segments of the society but also got banned and invoked legal trouble for the organizers and participants. 
 
Well, the show certainly got banned but not without telling the world so much about the bond that these upcoming superstars share with each other. 
 
Even though they are not coming together in any movie in the near future, they keep on posting about each other’s movies every now and then, and even share pictures from the past, without feeling shy about the way they looked back then. 
 
Such love, we tell you! 
 
Next in line is their stint as hosts for IIFA, in which they are possibly going to take their inglorious humor ahead and humiliate everyone, including each other. What we expect from this award show is not something that people usually do at award shows, which is being humble and appreciative. 
 
We can only expect a show which would remind us of the good old days of Shah Rukh Khan-Saif Ali Khan, Riteish Deshmukh-Boman Irani and even the not-so-old Ranbir Kapoor-Imran Khan. 
 
All these jodis made the award functions worth watching for, and left the audience in splits because of the chemistry they shared, something which the Babas have in abundance. 
 
IIFA takes place in Kuala Lumpur on June 5, coincidentally the day on which Ranveer’s much-awaited movie <a href="http://www.businessinsider.in/Did-you-catch-behind-the-scenes-actions-of-Dil-Dhadakne-Do/articleshow/47340864.cms">Dil Dhadakne Do</a> releases. 
 
Picture by BCCL

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